Nate Waddell Selected Works 2014-2020
NATE WADDELL 1831 Glendon Ave, Apt 3 Los Angeles, CA 90025 studiowaddell@gmail.com nate-waddell.com +1.414.852.1611
01
Subservient Loops
P.01-23
A sectional investment of the single height space through the stacking and interaction of both unconventional gym and parking programs.
02
Quarreled Projections
P.24-41
Large-scale housing studio concerned with the logic, genetics, and fabric of the city. Founded on organizational and typological methods based on historical precedence.
03
Lessons of Analysis
P.42-59
Through the repetition of analytical processes across different mediums, this entrance to an underground Metro focuses on resolving a lack of contextualization of prototypical architecture through a malleable form.
04
Dérivative Interrogations
P.60-73
An interrogation of the current library typology through the domestication of the library’s scale, supported through organizational logics of the building’s structural system
05
Saline Dreams
P.74-95
Continuing research and documentation of Owens Lake and its restoration efforts through an architectural lense with Associate Professor Jason Payne
06
faBRICK
P.98-105
Led by the 2014 Marcus Prize winner, Sou Fujimoto, and UWM Associate Dean Mo Zell, This temporary public pavilion reinterprets how brick can be used to create form, surface, and space.
07
Central Valley Life Center
P.106-115
A response to a joint ambition for improving lives, the Life Center completely transforms the American healthcare experience and acts as a springboard for the future of healing and patient experience.
08
Various Professional Works
P.118-125
A compilation of various professional projects from HGA Architects varying in spale, typology, and involvement as a design team member.
01
Subservient Loops
Course: Instructor: Date:
UCLA A.UD 401 Tech Core Jake Matatyaou Winter 2019
Preston Scott Cohen concludes his critique of Koolhaas’s Deleriou New York by stating that “if the perpetual dynamism of the city removes authorial control from the architect, then there is no need or place for the architect to operate�. It is precisely this attitude and pushback against the stack that trends architecture towards the development of multi-height or overlapping spaces. However, this habit of designing the atrium has become a trope and the realm of the single height space is neglected while simultaneously consuming the majority of the space in the project. This project challenges that notion and instead fully invests in this realm through a dialog between the floor and the ceiling of the single height space as highly articulated and programmatically specific autonomous stacks.
p. 5
Transverse A
Transverse B
Longitudinal A
Longitudinal B
Transverse C
Transverse D
Longitudinal C
Longitudinal D
Pedestrian
Sectional O
Vehicular Z
R E GROU ND S E CTI O N
/64” = 1’-0”
Activity Overlap - Section In order to further explore this thesis, non-conventional gym programs were chosen that require highly articulated and specific landscapes.
p. 6
01 | Subservient Loops
SERVIENT LOOPS
DELL
ctices typically trend towards the development of multi-height or overlapping tually, the realm of the single height space is neglected while simultaneously he majority of space in the project. This project challenges that notion and nvests in the dialog between floor and ceiling of the single height space, and ht be formed based on user movements of unconventional gym programs. As s feedback loop, all floors become fully isolated and autonomous from one individuality becomes highly eccentric in the x and y plane based on the c demands that shape this realm. To contrast this ambiguity, all vertical repetitive and normative in its form. Furthermore, this expressive ground plane nfronting relationship between the blurring of parking and the topographical This manipulation of the ground plane rationalizes the spatial demands of ght section.
Level 01: Velodrome Number of Stalls: 0
Level 02: Entry + Mtn Bike Number of Stalls: 16
Transverse B
Longitudinal A
Level 05: Studio Number of Stalls: 13 Transverse D
Level 06: Wake Number of Stalls: 7 Longitudinal C
Level 03: Skate Number of Stalls: 9
Level 04: Parking Number of Stalls: 23
Longitudinal B
Level 07: Studio Number of Stalls: 22 Longitudinal D
Level 08: Studio Number of Stalls: 14
Pedestrian
Planar Ov
Vehicular Z
Pedestrian Zone
R O U ND PL A N S 1’-0�
Sectional Overlap Vehicular Zone
Activity Overlap - Plan This results in inconsistent yet distinct parking plans that respond to these required landscapes.
p. 7
5 Shear
5 Shear
Massing Diagram
Vehicular Circulation
Vehicular Core
Structural Core
Vehicular Entry
Circuation Core
Velodrome Entry
Pedestrian Entry
PEDES TRI AN + VEHI CULAR CI RCULATI ON Not to Scale
Pedestrian and Vehicular Circulation
5 Shear
5 Shear
Massing Diagram
Articulation of Contained Cores
Vehicular Circulation
p. 8
01 | Subservient Loops
Worm’s-Eye Axonometric Chain reactions, and feedback loops to the program occur throughout. In order to contrast the highly eccentric x and y planes, all vertical circulation is contained within the normative extrusions of the structural cores. These cores elevate the building from the ground plane in order to give the property back to the public as an accessible velodrome. Pedestrians moving from the street can either spiral down to the velodrome or up into lobby, mountain biking course, and skate park. p. 9
Longitudinal Section The landscapes stack on top of one another and although visually isolated from one another, they begin to have a formal dialog with each other.
p. 10
01 | Subservient Loops
142’-0”
130-0”
102’-0”
78’-0”
66’-0”
50’-0”
34’-0”
20’-0”
0’-0”
S EC T IO N A
0
Scale | 1/16” = 1’-0”
10
20
40
Transverse Section For example, the void space between the skateboarding bowl might become a passageway for the mountain bikers below, which in return determines the spacing of the parking stalls below that floor.
p. 11
p. 12
A
8’- 0”
B
8’- 0”
12
100’- 0”
’- 0
”
12’- 0”
SOUTH SPRING STREET
C 19’- 0”
12
’- 0
” 12
’- 0
” 48’- 0”
8’-
0”
160’- 0”
L E VE L 0 1 P L AN - V E L O D R O M E + E N T R Y
Level 01 - Velodrome and Entry
Scale | 1/16” = 1’-0”
0
10
20
40
A 48’- 8”
B
”
’- 0
14 12’0”
C 15 ’- 0
100’- 0”
”
12’-
10
’- 0
8’-
”
12’-
0”
12’-
0”
0”
6” 160’- 0”
L E VE L 0 3 P LAN - S K A T E Scale | 1/16” = 1’-0”
p. 14
Level 03 - Skate
0
10
20
40
01 | Subservient Loops A
20’- 0” 20’- 0”
B
12’-
C 0”
15’- 0 100’- 0”
”
12’- 0”
12’- 0”
160’- 0”
L E VE L 0 2 P L A N - L O B B Y + M O U N T A I N B I K E Scale | 1/16” = 1’-0”
Level 02 - Mountain Bike and Lobby
0
10
20
40
A A
B B 26’- 0” 26’- 0”
12
’- 0
” 12
8’- 6”
’- 0
”
12
’- 0
8’- 6”
”
C
12
’- 0
”
12
’- 0
C
” 12
’- 0
100’- 0”
100’- 0”
”
8’0” 8’0”
12 ” ’- 0 ”
’- 0
12
160’- 0” 160’- 0”
L E VE L 0 7 P L A N - C A B L E P A R K Scale | 1/16” = 1’-0” L E V E L
07 PLAN - CABLE PARK
Scale | 1/16” = 1’-0”
Level 07 - Wake Cable Park
0
10
20 0
40 10
20
40
p. 15
Perf Type A Perf Type B
Open Air
Translucent
Transparent
p. 16
01 | Subservient Loops
p. 17
1/8� Physical Model
p. 18
01 | Subservient Loops
Section through parking and cable park
Expression of Entry
p. 19
1/8� Physical Model - Spring Street Elevation Operating under the same rule that the x and y planes are eccentric and that therefore the z is normative, the elevations become a simple plane and begins to mute the program.
p. 20
01 | Subservient Loops
1/8� Physical Model - Section This plane is articulated with a regular grid and a few but exceptional moments. These exceptional moments hint to the programmatic relationship beyond.
p. 21
p. 22
p. 23
02
Quarreled Projections
Course: Instructor: Date:
UCLA A.UD 413 Building Design Studio Yara Feghali, Neil Denari Fall 2019
Quarreled projections consists of two differently scaled grids thats stack, then rotate on one another producing intentional discrepancies and asymmetries. This action results in a variety of non-duplicative spaces and individualized experiences. These grids were influenced through the study of the grid used at Berlin Free University, which is based on a unit of distance traveled through space, in time. Specifically a 60 second walk resulting in 128 meters. In the same spirit, quarreled projections applies a similar logic by establishing grids based on ideal but potentially opposite Living Experiences. The lower grid is based on the unit of a New York City pocket park. Specifically Paley Park on Manhattan’s lower east-side, while the upper grid is based on the unit of a typical Los Angeles residential lot. The grids established are then intervened with formal maneuvers of a housing cube of studio apartments as a signal and gateway to the project, a pool, vertical circulation as visible towers, and an observation platform. Subsequently, both the materiality and interventions of follies attempt to destigmatize the often austere nature of the mat building and grid.
P.07
Soft Story Motel
Follies
2400SF House 600SF Unit
ADU Garage
130
’
50’ 150
’
Neighborhood
1
28’
LA Residential Block
52’
Paley Pocket Park
Courtyard Network
128 Me ters
60 Second Line
Berline Free University
Mat Building Translations The logic used at Berlin Free University is then applied to the contemporary living experiences of New York City and Los Angeles. Two seemingly opposite worlds, stacked on one another to create a new environment.
p. 26
Building Stack
02 | Quarreled Projections
p. 27
p. 28
02 | Quarreled Projections
p. 29
Low Grid: Pocket Parks The ground floor becomes a network of pocket parks, accessible through passageways between the housing blocks, and on occasion an empty facade. The parks are aligned with a series of narrow two story town homes, again paying homage to the NYC environment of which it is derivative.
p. 30
02 | Quarreled Projections
Upper Grid: The Residence The upper grid is organized by streets and sidewalks. The streets are the main artery to access the sidewalks which front the units. Units are clustered in a similar scale to that of a home, garage, and ADU. The contemporary situation of LA’s residential neighborhoods.
p. 31
Transverse Section Through the stack and rotation of the two layers, sectional variance occurs resulting in a variety of non-duplicative spaces. Porosity is achieved through clustering the upper units, resulting in large openings to the dwellings below.
p. 32
02 | Quarreled Projections
400 sf Studio
500 sf 1 Bed
800 sf 1 Bed
650 sf Garden Bed
1200 sf 2 Bed Townhome
p. 33
Longitudinal Section The site is over 1200ft long, making it ideal for repeating units horizontally. However, achieve diversity amongst the repetitio, courtyards and units are given characteristics that further the goal of creative non-duplicative spaces.
p. 34
02 | Quarreled Projections
p. 35
Gateway The project gateway consists of a subtracted corner with a commercial alley extending into the site. Levitating above, and anchoring this corner is the studio unit housing block, pushing the projects density closest to the street and transit hub.
p. 36
02 | Quarreled Projections
Mirrored Elevations The lower landscape is comprised of the 1200sf townhomes and the pocket park network. The underbelly of the upper landscape is rendered in a reflective metal which both dispurses the light and mirrors the ground, creating the illusion of a larger space.
p. 37
Public Zones The public is able to access the rooftops of the courtyards units through the observation deck’s pathway. This results is a checkerboard effect between the public and private zones, where they are able to view each other but never come into direct contact.
p. 38
02 | Quarreled Projections
Roofscapes The roofscape is a series of rooftop terraces that are accessible to the residents off the main circulation artery. These landscaped zone face more extreme sun exposure than the lower courtyards allowing for diverse ecologies across the site.
P.13 p. 39
03
Lessons of Analysis
Course: Instructor: Date:
UCLA A.UD 411 Stephanie Odenheimer Fall 2018
The urban ground plane has typically been understood and experienced as a rigid surface with the simple purpose of supporting its occupants. If this ground plane was reintroduced with material and contextual plasticity it has potential to open up a new realm of undefined spatial encounters. Considering that the Metro entrance is one of the most kinetic and trafficked places within the public realm, it is an ideal module in which to test this scenario. Because of this tendency for movement, one would assume that the architecture should have a direct translation to the particular of the ephemeral circumstances. However, the metro entrance is often prototypical and thus problematic to the site specificity. By proposing the attribute of plasticity into this form, we create potential for site specificity based on the way the form can be manipulated in the moments of occupation. The form is thus becomes an organism that is dependent on the environmental changes applied to it.
Disclaimer - This phase of the project included partner work with Tomasz Groza
Define Fragment
Define Fragment
Add Aggregate
Add Aggregate
Add Aggregate
Make Inner-Vault Icisions
Slice Organizationl Projection
Make Inner-Vault Icisions Jig Process S t . V i t u s C a t h e d r a l - G r o z a + Wa d d e l l
Make Inner-Vault Incisions Jig Process
Slice Organizationl Projection
Slice Organizational Projection
S t . V i t u s C a t h e d r a l - G r o z a + Wa d d e l l
Operations While the origin of the project began with a formal analysis of cathedral vaults, the inspiration for the final Metro station derived from a culmination of material reconstructions and explorations of a cathedral vault fragment.
p. 44
03 | Lessons of Anaysis
Polymer Clay Reconstruction of Vault A non-ideal structural material was chosen for the reconstruction due to its ambiguous and inconsistent attributes. The reconstructed form is distant from a 1:1 representation of the cathedral fault. However, the error, or glitches, conceived through this reconstruction became a point of departure for the project’s progression
p. 45
Disclaimer - This phase of the project included partner work with Tomasz Groza
A
B
Language of Silhouette S t . V i t u s C a t h e d r a l - G r o z a + Wa d d e l l
Material Documentation
p. 46
03 | Lessons of Anaysis
Dent
Dent
Ridge
Ridge
Edge
Crest
Crest
Edge Resolutional Diagnosis S t . V i t u s C a t h e d r a l - G r o z a + Wa d d e l l
Resolution Diagnosis of Glitches
p. 47
Disclaimer - This phase of the project included partner work with Tomasz Groza
Projection Iterations
p. 48
03 | Lessons of Anaysis
Sihouette Iterations
p. 49
Disclaimer - This phase of the project included partner work with Tomasz Groza
Mold and Cast for Ridge Reconstruction
p. 50
03 | Lessons of Anaysis
Concrete Cast of Reconstruction Ridge Glitch
p. 51
Field Deploying attractor points across the Metro site would determine the various extrusion points above and below the surface.
p. 52
Topography The continuation of the ground plane is expressed through three topographic extrusions.
03 | Lessons of Anaysis
Define
Flaunt
The edges of the Metro are defined through penetrations in the ground that reveal the entry and observation portals to below.
The final form is expressed through dramatic extrusions of flexible vertical members.
p. 53
Section A
Section B
p. 54
03 | Lessons of Anaysis
Isometric- Fragmented Section
Oblique Plan Points of intersections and traversion happen at the wider, flatter “petals� within the Metro surface. The taller, thinner members become a field of tactile expression and movement. With the introduction of this plasticity, the Metro takes on a kinetic and dynamic relationship within its context.
p. 55
p. 56
03 | Lessons of Anaysis
Concrete and Silicone Physical Model - Plan
Concrete and Silicone Physical Model - Section
p. 57
The Underground The constant dialog between the street and the subterranean of the Metro imposes not only a more social commuting experience, but one that presents daily a new scenario for the typical commuter. As pedestrians navigate across the surface above ground, the members below will flex and move in response. When users below push against the members, the ground plane above is distorted and felt by the those occupying the surface.
p. 58
p. 59
p. 60
03
DĂŠrivative Interrogations
Course: Instructor: Date:
UCLA A.UD 412 Building Design Studio Georgina Huljich Winter 2019
Understanding the experience of book reading to be an intimate, private, or ritualistic practice, it is worth interrogating the current typology of the library to be the most suitable scale to foster the environment necessary for book reading itself. We are most familiar with libraries that have large, open floor plates lined with repeating book shelves that are flanked with seating on its perimeter. However, most often we practice reading in more confined, domestic spaces, such as the home. Responding to this position, the project becomes an aggregation of these domestic-scaled spaces as a village around two primary courtyards. Each of the domestic volumes within the village take on their own spatial identities through different organizational logics. The myriad of spaces within the library is hopeful to appeal to the selective needs of the individual, rather than providing a “one size fits all� solution to an assumed collective. This library simply champions the experience of book reading through its form, against the trope of the current library type.
p. 61
Noli DĂŠrive - Level 01 Implementing ambiguous, and atypical patterns of circulation subjects the user to what Guy Debord coins as a dĂŠrive, a basic situational practice of discovering through blissful wandering and happenstance.
p. 62
04 | DĂŠrivative Interrogations
Noli DĂŠrive - Level 02 Reconstructing this dĂŠrive to resemble a Nolli map reinforces the contradiction between the neighboring forms. This tension between volumes allows the user to confront each one individually.
p. 63
AUDITORIUM
STAFF
COMMUNITY LARGE
COMMUNITY SMALL
CHILDRENS
ROMANCE
DRAMA
LOBBY LOUNGE
NON-FICTION SUPPORT NARRATIVE
COLLABORAITON
SCI-FI
POETRY
FANTASY
MEDIA
LEGEND
GRAOHIC NOVELS MYTHOLOGY TECH
ESSAY
FABLE
MYSTERY
FANTASY
FAIRY TALE
Program Organization Each Domestic volumes is scaled to accommodate its specific program. The program was determined through the analysis of literature genres popularities.
p. 64
BIOGRAPHY
04 | DĂŠrivative Interrogations
Site Oblique The volumes are articulated around two courtyards. The courtyard to the north is accessible from both Glendale Avenue and Silverlake Boulevard, while the other is completely contained by within library.
p. 65
Level 01 - Drawing Not to Scale
1: Lobby 2: Lounge 3: Automated Return 4: Copy Room 5: Tech 6: Sci-Fi 7: Biography 8: Mystery
p. 66
9: Fantasy 10: Thriller 11: Private Reading 12: Open Reading Area 13: Backstage 14: Auditorium 15: Projection Room 16: Popular Materials (LL)
17: Rare Books (LL) 18: Public Theater 19: Community - Large 20: Community - Small
04 | Dérivative Interrogations
Level 02 - Drawing Not to Scale
1: Drama 2: Romance + Poetry 3: Media 4: Media Deck 5: Graphic Novels 6: Essay 7: Fantasy 8: Open Reading Area
9: Fable 10: Mythology 11: Legend 12: Horror 13: Non-Fiction 14: Private Study 15: Non-Fiction 16: Children’s
17: Nursing 18: Children’s Play Room 19: Children’s Deck 20: Staff Suite
p. 67
Longitudinal Section Certain Sections reinforce the autonomy of the domestic volumes. Variation in floor-to-floor heights, overlapping, and disconnecting of these forms support this individuality
p. 68
04 | DĂŠrivative Interrogations
Transverse Section Simultaneously, other sections reveal a continuation of the library as one form. These moments typically occur during continuation of circulation.
p. 69
North Elevation
East Elevation
p. 70
04 | DĂŠrivative Interrogations
North Elevation - Physical Model
East Elevation - Physical Model
p. 71
p. 72
p. 73
p. 74
05
Saline Dreams
Course: Instructor: Date:
Continuing Research from Saline Dreams Pt.I, Pt.II, and Pt.III Jason Payne Fall 2018 to Present
Owens Lake is a mostly dry lake in the Owens valley on the eastern side of the Sierra Nevada Mountains in Inyo County, California. Unlike most other dry lakes in the surrounding region, Owens Lake held significant water until 1913 when the Owens river was diverted from the lake into the Los Angeles Aqueduct, causing the lake to desiccate by 1926. Today, some of the river has been restored and the lake contains some water. The transformation of Owens Lake created by the Los Angeles Department of Water and Power (LADWP) to fuel the otherwise impossible growth of Los Angeles resulted in one of the world’s most recognizable ecological mistakes due to the toxicity of airborne mineral effluents. However, improved dust mitigation techniques known as BACMs (Best Available Control Measures) have resulted in the containment of 99 percent of the dust pollutants. There are eight of these BACMs deployed across the roughly 100 subdivisions of the lake, resulting in a nearly continuous mosaic from north to south. These polygons vary widely in size, each delineating local conditions different from the next that require unique approaches to dust mitigation. Given the unique problems found within each polygon, it is only natural that any given BACM tends to produce disparate effects when used in different polygons. It is this variability of effects that gives rise to Owens Lake’s striking, multicolored visage from above. Description from Associate Professor Jason Payne, Directed Research Leader p. 75
Analytical BACM Site Plan The lake is 17 miles in length and 10 miles in width, while rarely surpassing two feet in depth. The polygons are actively changing in size and content in tandem with its climate, resulting in challenging documentation efforts.
p. 76
05 | Saline Dreams
Visceral Site Plan The research concerns itself with possible representations of the lake and its contents through various mediums. Analytical, abstract, photographic, and visceral attempts are made to communicate various affects and research.
p. 77
Disclaimer - Drone photos taken by various students in Jason Payne Fall 2018 elective studio Saline Drams Pt.1
Managed Vegetation
p. 78
05 | Saline Dreams
Managed Vegetation
p. 79
Disclaimer - Drone photos taken by various students in Jason Payne Fall 2018 elective studio Saline Drams Pt.1
Wind Fence
p. 80
05 | Saline Dreams
Wind Fence
p. 81
Disclaimer - Drone photos taken by various students in Jason Payne Fall 2018 elective studio Saline Drams Pt.1
Channel
p. 82
05 | Saline Dreams
Channel
p. 83
Disclaimer - Drone photos taken by various students in Jason Payne Fall 2018 elective studio Saline Drams Pt.1
Sprinkler
p. 84
05 | Saline Dreams
Sprinkler
p. 85
Disclaimer - Drone photos taken by various students in Jason Payne Fall 2018 elective studio Saline Drams Pt.1
Shallow Flooding
p. 86
05 | Saline Dreams
Shallow Flooding
p. 87
Disclaimer - Drone photos taken by various students in Jason Payne Fall 2018 elective studio Saline Drams Pt.1
Gravel
p. 88
05 | Saline Dreams
Gravel
p. 89
Disclaimer - Drone photos taken by various students in Jason Payne Fall 2018 elective studio Saline Drams Pt.1
Brine
p. 90
05 | Saline Dreams
Brine
p. 91
Disclaimer - Drone photos taken by various students in Jason Payne Fall 2018 elective studio Saline Drams Pt.1
Tillage
p. 92
05 | Saline Dreams
Tillage
p. 93
Undefined
p. 94
Undefined
p. 95
Tillage Section Each BACM is unique in its containment of salt and other minerals, soil type, water level, chemistry, microbial life, vegetation, animal life, and wind exposure. It is this variability of effects that gives rise to Owens Lake’s striking, multicolored visage from above.
p. 96
05 | Saline Dreams
Surface Characteristics While some BACMs are concerned with their surface properties, others are much more invested in their sectional traits. Managed vegetation, for example, develops and performs subtly differently in the north than in the south, attracting birdlife in the latter location but not in the former due to differing salinity levels of soil and water.
p. 97
p. 98
06
faBRICK
Course: Instructor: Date:
Marcus Prize Studio Sou Fujimoto + Mo Zell Spring 2014
In 2005, through the vision and support of the Marcus Corporation Foundation, the University of Wisconsin-Milwaukee School of Architecture and Urban Planning developed a biannual award designed to celebrate the contributions and talents of a rising Architect, as well as support their promising future. The $100,000 prize gifts $50,000 to the recipient and an additional $50,000 to fund a selective design studio in collaboration with UWM faculty. Internationally recognized Japanese Architect, Sou Fujimoto, became the fifth recipient of this prestigious award, and throughout the spring semester of the 2013-2014 academic school year, his students would design and build a temporary pavilion founded on his core philosophies. Form, illusion, and artifact would challenge the customary nature of architecture and transform a traditional material into an entity much more dynamic. The pinnacle of this challenge was formed by and developed upon one, seemingly inane question: “Can brick float?� Disclaimer: This project is a collaborative work between the studio students and instructors. As a result, models, images, and the final built project are not individual efforts, and belong to the University of Wisconsin-Milwaukee.
p. 99
p. 100
1
2
3
7
8
9
13
14
15
19
20
21
1. Ribbon Dwelling
2. Spliced Tunnel
3. Haptic Wall
7. Stacked Logs
8. Ribbon Field
9. The Clearing
13. The Spine
14. The Nest
15. Ribbon Court
19. Waveform
20. Stacked Wall
21. Spiral Cloud
06 | faBRICK
4
5
6
10
11
12
16
17
18
22
23
24
4. Brick Strips
5. Torqued Enclosure
6. Ribbon Dwelling
10. Brick Fabric
11. Monosurface
12. The Clearing
16. Indexical Expansion
17. Outer Frame
18. Net Matrix
22. Suspended Ground
23. Internal Skeleton
24. Pulled Earth
p. 101
Multiply
Seal
Refine
Material testing was done to determine the best component for the gasket. Plywood absorbed the inconsistencies of the brick units, while maintaining its structural integrity. The successful prototype moved us into the deployment of duplicating the forms.
Initially thought to be neoprene due to its resilience and flexibility, the new wood gasket needed to accommodate for battling the elements. To prevent moisture from entering the gasket, all 4,000 units were sealed.
Steel end plates introduced the studio to basic blacksmithing and metal working skills. Public access required all components to be safe and tangible. To meet these accommodations, all end plates were detailed accordingly.
p. 102
06 | faBRICK
Arrange
Anchor
Tourque
Three formworks of 2’, 3.5’, and 5’ were used to rapidly assemble the architecture. Additionally, the formwork was used to safely disassemble and repurpose the materials.
Extruding the wooden gaskets below and casting them into concrete anchors secured the position of the arcs. When absent, excessive weight loads pushed the ends of the arcs away.
Pressure testing on mockups and individual bricks confirmed maximum loads. Too little compression would cause the forms to collapse. Excessive compression cracked the brick, failing the entire system.
p. 103
Product The final product consisted of over 5,000 bricks, 4,000 wooden gaskets, 800 steel end plates, and two weeks of labor. The system links bricks with wooden gaskets through the compression of a threaded rod. Prototyping and testing took place throughout the semester to find the most structurally stable parabolic arcs and materials to withstand heavy compression loads. In the end, the pavilion saw dozens of visitors every day, including pedestrians, pets, and even mountain bikers. p. 104
p. 105
07
Central Valley Life Center
Architects:
HGA Architects and Engineers
Project Role:
Designer
Project Year:
2016
An ambitious client stepped out on a mission to rethink patient care and the typology of a healthcare clinic. Recognizing that clinics are often isolated and fail to serve their communities beyond the day of patient visit, this client sought change. Making medical education, life skills, food, and community services available to the public reduces the intimidation of the healthcare facility. Beyond the facility itself, master planning efforts were done to plan mixed use and medium-density residential surrounding the site that can be integrated into the medical environment. This project conceptually expands on these notions, and strives to create a precedent example of the future of healthcare architecture.
p. 106
p. 107
p. 108
07 | Central Valley Life Center
Promenade
Parkside
Character Development Located in California’s Central Valley, a place that is rich in agricultural resources, the Life Center focuses on using local materials and sustainable building techniques to sustain its environment. Preservation of greenspace, clinic visibility from the interstate, and flexibility for future growth drove master planning schemes. Forced ranking of these schemes by community members and employees was used to identify successes and improvements. p. 109
p. 110
Till
Extrude
Expose
Collect and prepare the earth.
Build the forms from the harvest.
Open the Life Center to the community.
07 | Central Valley Life Center
Breathe
Protect
Sustain
Puncture the enclosure. Provide green.
Defend for comfortable life.
Use the sun and collect rain.
p. 111
12
11
4
3
5 1
6
2
1. 2. 3. 4. 5. 6. 7.
Entry Interactive Learning Lab Cafe Life Coach Breakout Rooms Seasonal Exhibits Community Theatre Digital Health Education p. 112
8. Adult Provider 9. Pediatric Provider 10. Courtyard and Boardwalk 11. Pharmacy 12. Dental 13. Imaging 14. Rammed Earth Walls
8
13
10 7
9
14
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P.113
Palette During initial geotechnical tests, warm, deeply contrasting soil below was discovered below the site. Although primarily used in residential architecture, integrating rammed earth technology into the Life Center would establish it as the world’s first rammed earth healthcare building.
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07 | Central Valley Life Center
Place
The simple parti of subtracting a cylinder from the rectangular volume creates a clear juxtaposition between the courtyard and the rest of the life center commons. This intentionally allows for the program within the commons to perform as independent objects.
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08
Professional Work
Architects: Project Role: Project Years:
HGA Architects and Engineers Designer 2015 - Present
Disclosure Statement: All of the images included in the following spreads of this portfolio are owned by HGA. However, every image that is included in these spreads has been entirely generated by myself, and is included to show my rendering and representation skills. During my four years at HGA, I had the opportunity contribute as a Designer and team member to many healthcare and institutional projects. My role on these projects varied from a simple graphic support, to a design lead on particular spaces within the broader scope of the project. Every project included in this portfolio is one in which I was a design team member or captain.
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Disclaimer - Images owned by, and produced for HGA
Threshold
THRESHOL THRESHOL D D
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Program
P ROGRPAROGR M AM
M
08 | Professional Work
John Adams Middle School, Rendered Elevation
Tuning
TUNING TUNING
Fabric
FA B R I C FA B R I C
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Disclaimer - Images owned by, and produced for HGA
John Adams Middle School, Performance Auditorium
John Adams Middle School, Rehearsal Skylight
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John Adams Middle School, Post-Performance
John Adams Middle School, Entry Procession
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Disclaimer - Images owned by, and produced for HGA
St. Elizabeth Cancer Center, Atrium
St. Elizabeth Cancer Center, Exterior
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08 | Professional Work
Mercy Hospital Muskegon Chapel, Completed
Mercy Hospital Muskegon Chapel, DD Render
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Thank You.